Guggenheim Museum

  • Guadalajara, Mexico
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A block of basalt

  • The museum is a basalt monolith balanced on the edge of the Barranca. It is a mass made of the matter of the site.
  • Representing the landscape of Barranca within the monolith.
  • A series of viewing shafts cut through the mass awaken the senses to the perception of the site. The visitor recomposes the landscape from fragments. Through this spatial mechanism, the strong elements of the site are captured to arouse emotions. Framed views of the specifics of landscape: depth, proximity and distance, the edge between site/nature, vertigo…



The Five Worlds and the Question of the Museum

  • How to respond to the generic question of the program of a museum with five specific universes? The museum is thought of as a series of specific supports with precise characteristics. Spaces are dedicated to works of art but are also spaces in which artists can intervene. These are thematic spaces as well as atmospheres that make the discovery of works of art possible.
  • The World of Light is a space where the quality of natural light is the reference. The intense light of Guadalajara reflects off the basalt mass and penetrates the space by reflection; some rays enter directly revealing the material, the shadows and the contours. It is a space where the light varies according to the hours of day; where nature and intensity of light evolve.
  • The Every Day World is a familiar universe. This space reminds us of domestic scales that we know – those of grand apartments or palaces with rows of rooms, generous, public and sumptuous, but also of the scale of the anti-chamber, intimate, secret and exclusive.
  • The Depth World refers to the mysterious world of abyss. It is conceived to welcome works of art that are their own sources of light. The space is dark, limitless, video installations and illuminated photographs float in space. Each installation welcomes the visitor in its halo of light.
  • The Real World. Which artist dares to confront nature in its brute form? A perverse but stimulating mean: attaching a platform to the edge of the Barranca. A reduced surface for installation and limited accessibility (a foot path, or an elevator linked to the museum). The question of representation is reformulated : Artist vs. Nature.